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View as Selection will refresh the page with new results. Sort By Selection will refresh the page with new results. View Product. Add to Cart. Add to List. Contact Us To Order. No interest if paid in full within 6 months. I would like to thank VK for the wonderful sales assistance, service and prices. This was my first purchase with you and it won't be my last. I only wish I'd discovered you years ago! Both made with help from Vintage King!
In almost 20 years in Pro audio buying, never did I receive a unit so well packed and exactly as described. Works flawlessly. The whole process has been so smooth.
I will never hesitate to do business with you guys in the future and will recommend you to everyone I know. This was my first experience buying something from Vintage King although I surf the "used" categories on the website frequently! The speed of delivery exceeded my expectations!
I was VERY pleased that my shipment arrived in time for a scheduled vocal tracking session. The packing insured that my order arrived safely. And the sales staff responded quickly to questions regarding the product. Thank you so much! Vintage King has been so fair and easy to work with. I can't thank you enough. Although it had previously been possible to use Euphonix's products with Pro Tools, users had to resort to clunky workarounds involving Mackie's HUI protocol. So it was perhaps no surprise that Pro Tools 9, released towards the end of , incorporated native support for Euphonix's EUCON control surface protocol, making it much easier to control Pro Tools' mixer from Euphonix's Artist and Pro series products.
EUCON support has been further enhanced in Pro Tools 10, so that almost every Pro Tools command, such as those normally accessed via menus or keyboard shortcuts, can be assigned to the Soft Keys on your Euphonix surface. Over commands are exposed, so you can now create and manage groups, for example, or adjust the edit selection without having to touch a keyboard or mouse.
Another Euphonix-related improvement in Pro Tools 10 is the new Avid Channel Strip plug-in, which is based on the EQ and dynamics algorithms from the System 5 console's channel strip. For those unfamiliar with the System 5 console, it's a high-end, modular digital console now sold by Avid, but originally released by Euphonix in Although the System 5 is popular in a many different fields, it has become a particular favourite for post-production work, being used to mix both the music and the final dub for major Hollywood feature films.
If you've watched a film in the last 10 years or listened to a film soundtrack , there's a good chance you'll have heard audio signals that have passed through a System 5 console. This may well be the last channel strip plug-in you'll ever need. Channel Strip comprises four sections — EQ, Filter, Dynamics and Volume — which can be arranged in almost any order you like, except that the filter always follows the EQ. Each effect has its own section in the interface, which can be collapsed if you don't wish to see certain settings that might not be in use.
The interface for the EQ and dynamics sections comprises tabs for each of the components of the given section, whether bands of EQ or specific dynamic processes. However, the dynamic section also offers an 'All' tab, so you can see all dynamics parameters on one page numerically, which is really handy.
One particularly neat aspect of the Channel Strip plug-in is the Listen mode, which is available for the side-chain component of the dynamics section and each component of the EQ section. Enabling Listen mode on the side-chain lets you hear the input signal, while clicking Listen on a given band or filter in the EQ section solos and inverts that band or filter so you only hear the affected frequencies.
This allows one to be incredibly surgical when trying to find the appropriate frequency and Q. In fact, that word pretty much sums up the System 5's channel strip. It's perfect for shaping a sound without adding a great deal of extra and perhaps unwanted colour. In addition to the new Channel Strip plug-in, there's also Down Mixer, which simplifies the process of creating stereo fold-downs of surround material, and a new version of Mod Delay.
But, as well as new plug-ins, Avid have also made a number of other mix-related improvements that will be helpful to those who use Pro Tools for large-scale mixes. There are now Solo and Mute indicators on the Edit window's toolbar, so if any track in your session has been soloed or muted, the appropriate indicator will light up to show that a solo or mute is active somewhere.
Clicking the Solo indicator will clear the solo status of any tracks, but, unfortunately, clicking the Mute indicator does nothing. According to the Pro Tools manual, a 'clear mutes' function is impossible because Mute is an automatable mix parameter. Even so, it would have been nice if clicking the Mute indicator would at least scroll you automatically to the first muted track in the list, just to make it easy to track down a rogue mute, if you'll excuse the pun.
The Edit window now features Solo and Mute indicators bottom right. Here you can see the Solo indicator lit up to show that there's at least one soloed track in the session. A particularly neat touch is that the Solo indicator works across multiple Pro Tools systems synchronised via Satellite Link. This means that if a session on any linked system has a soloed track, the Solo indicator will light up, which is pretty cool. The only slight complaint is that the Solo and Mute indicators are only visible on the Edit window, and it might have been nice to find some way for them to be accommodated on the Mix window as well.
Staying with the theme of making things easier to see when mixing, another neat feature in Pro Tools 10 is called Bus Interrogation. While the name sounds a bit like some kind of forceful public transport inquisition, it's actually a way of quickly seeing all tracks sharing a common assignment. For example, say you have a number of tracks routed to a Drums bus and you want the Mix window to show only those tracks. Simply right-click on an assignment to the Drums bus from a track output, for example and choose 'Show Only Assignments to Drums'.
Any tracks not containing an assignment whether an input, output or send, and so on to the Drums bus will be hidden, clearing the Mix window of unnecessary clutter. When you want to return to the tracks that were visible before selecting this command, right-click on any assignment and choose 'Restore Previously Shown Tracks'.
The only small quirk is that the Mix window always ends up scrolled all the way to the left after the restoration. It would be nice to have the option of the Mix window being restored to the exact place to which you were previously scrolled.
In addition to being able to show only the tracks sharing a common assignment, you can also choose to select the appropriate tracks, and there's also a Show Assignments command. This is similar to Show Only, except that it's intended to ensure all tracks that might share the given assignment are visible as opposed to hidden. This time, all other visible tracks displayed in the Mix window remain that way. One of the most contentious aspects of Pro Tools 10 is likely to be its cost.
But in addition to this plug-in, you also get most of the other features discussed in this article. This HD version can still run without any additional hardware, and in this case it behaves like a copy of Pro Tools with the Complete Production Toolkit. Initially, it was possible to save money by purchasing Avid Standard Support: a month support package that, for a limited time, retroactively included the Pro Tools HD 10 upgrade.
But with that offer now closed, HD users will have to pay the full amount to upgrade. Pro Tools 10 is an incredibly useful update, and I don't want to seem completely negative about the cost. But it does point to a difficulty in evaluating the fiscal value of software.
I guess it depends on the users at the end of the day, and what they need their systems for. Certainly, high-end mix facilities might be more than happy to pay the money for features like disk caching and being able to synchronise more systems via Satellite Link. But if you mostly use a Pro Tools system as, say, a songwriting tool, there's potentially less to get excited about.
Pro Tools 10 is about audio. There are new audio editing features, new audio plug-ins, and incredible internal improvements such as the new disk engine and more flexible support for working with different audio formats. What Pro Tools 10 is not about is sequencing, which comes as a surprise when I think back to the huge push Digidesign made in version 8 to boost Pro Tools' music creation functionality. Maybe Avid now feel that Pro Tools' abilities in this respect are adequate for the moment, especially since it was never a sequencer in the way that Logic, Cubase and Digital Performer were and are, and maybe it makes sense not to transform Pro Tools into that type of music production software.
However, it does seem a shame that some of the shortcomings on this side of the product have still not been addressed three years later. Ultimately, Pro Tools 10 feels like a more polished Pro Tools 9. Many of the major improvements are arguably quite subtle, but it is possibly the sheer avalanche of these subtle improvements that will make it a worthwhile and impressive upgrade for the majority of users.
Pro Tools 10 offers many improvements when it comes to working with different audio file formats, and I'm sure I'm not the only one who is happy to see support for interleaved files, whether stereo or multi-channel. Pro Tools 10 also supports some of the more modern WAV format varietals, including the Wave Extensible Format for better compatibility with interleaved multi-channel files , and RF64, which enables more than 4GB of audio to be stored in a single WAV file.
And given that the HDX hardware processes audio at the same bit floating-point internal resolution as native systems as we will discuss further next month , Pro Tools 10 now also supports bit floating-point audio files. This is useful if you do a large amount of off-line processing, but has the disadvantage of placing a greater load on your storage resources.
Some of these new format options are available when creating a new session, such as bit float as a Bit Depth option and Interleaved.
If a change is made, any new audio recorded after this point will be stored according to the new settings, which is possible because Pro Tools 10 now supports mixed audio file formats in a single session. This is a pretty big deal, especially as it will also save having to convert every file you add to a session that might be in a different format.
In addition to supporting various other formats, Pro Tools 10 also introduces a new '. While this kind of change is rarely welcomed by anyone, it is at least possible, as it has been in the past, to export a session that is compatible with earlier versions of Pro Tools using the 'Save Session Copy As 'command.
Speaking of exports, a useful command Avid have added in Pro Tools 10 is the ability to export the selected tracks as a new session. This is great if you want to send only certain tracks to a collaborator, for example, or if you want to clear out the clutter from one session to use only a few tracks as the basis for something new.
Pro Tools 10 also adds the ability for bounces to be automatically added to your iTunes library, and another slightly unexpected — but very welcome — new feature is the facility to export a bounced session to SoundCloud, the popular cloud-based music service. Pro Tools 10 makes it easy to upload bounced sessions to SoundCloud. For anyone who doesn't know about SoundCloud, it's essentially for audio what YouTube is for video. When bouncing to disk, there's a new 'Share with SoundCloud' option, which will prompt you for an additional page of SoundCloud-related settings, such as a description for the track and whether you want to make the track private.
Once the session has been bounced, Pro Tools will ask for your SoundCloud log-in which can be remembered for future uploads , and, assuming the process is successful, a helpful window will appear containing a URL of the uploaded track that can be copied to the clipboard.
One of the less conspicuous manoeuvres Avid have made with the introduction of Pro Tools 10 is to encourage users to sign up for support and maintenance contracts, a business model that has served the video side of Avid reasonably well in the past.
The first offering is known as Avid Vantage, but the big question is whether the vantage is the user's or the company's. Vantage users can also choose four plug-ins to be licensed for the tenure of the support. I've got to admit that I have no idea why anyone would go along with this offer, and I invite Avid to show me the value of the support I would receive as a Pro Tools user if I did.
However, it does rather seem that you would do this for Avid's benefit rather than your own, since, despite the carrot, Avid obviously hope you'll be so infatuated with the support you receive that you'll continue to pay the fee annually, regardless of whether there are any major updates in a given cycle.
There are no big surprises in Pro Tools 10 — except, perhaps, for the cost — but Avid have added considerable polish and functionality to its audio abilities. Although many of the improvements are subtle, they are nonetheless very worthwhile. Universal Exports Pro Tools 10 offers many improvements when it comes to working with different audio file formats, and I'm sure I'm not the only one who is happy to see support for interleaved files, whether stereo or multi-channel.
An Advantage From The Avid Vantage One of the less conspicuous manoeuvres Avid have made with the introduction of Pro Tools 10 is to encourage users to sign up for support and maintenance contracts, a business model that has served the video side of Avid reasonably well in the past.
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